Josefine Andersson, mezzo-soprano

Biography

Josefine Andersson has been working on Scandinavian opera’s most prestigious stages for more than a decade, despite only recently graduating from the Royal Opera Academy in Stockholm. She made her professional debut in Copenhagen in 2009, singing Dryad in the Royal Danish Opera’s production of Ariadne auf Naxos. She has since sung Kunstgewerblerin (Lulu), Stéphano (Roméo et Juliette) and Rosina (Il barbiere di Siviglia) with the company, in addition to Dorabella (Così fan tutte) for Malmö Opera and Orfeo (Orfeo ed Euridice) for the Funen Opera (Den Fynske Opera).

Other roles have taken Josefine to the Folkoperan (Stockholm), Trondheim Opera, The Nordic Opera, Skånska Opera, Wermland Opera, Läckö Castle Opera and Guido Paevetalu’s startup company Guidopera. She has worked with leading conductors including Michael Boder, Krzysztof Urbański, Marc Soustrot, Alexander Shelley, Rumon Gamba, Henrik Schaefer and the late Freidemann Layer, and with renowned stage directors including Olivier Py, Stefan Herheim and Robert Carsen. Josefine’s repertoire has already ranged from Handel’s Sesto to newly created roles, and it continues to expand.

As a concert soloist, Josefine has appeared with the Gävle Symphony Orchestra, Malmö Symphony Orchestra, the Orchestre Symphonique de Bretagne and the Orchestra of Norrlands Opera in music by Bach, Mozart, Beethoven, Rossini, Copland and Boulanger. She has made the exploration of Scandinavian art song a particular specialty, and formed the Nordic Light Duo with the pianist Daniel Beskow to bring the treasury of Nordic song to a wider audience.

Josefine was a finalist in the singing category of the Stenhammar Competition in 2018 and participated in the Académie européenne de musique at Aix en Provence. She is a recipient of the Jenny Lind Scholarship (2012), the Christina Nilsson Stipend (2019) and the Reumert Talent Prize (2013). She studied at the Royal Danish Academy of Music and at the Opera Academies of Copenhagen and Stockholm. She has participated in master-classes with Helmut Deutsch, Diana Montague, Dorothy Irving, Mikael Eliasen, Felicity Palmer and Anne Sofie von Otter, who in the summer of 2020 described her voice as ‘exceptionally beautiful’.

Calendar
Repertoire
STAGE EXPERIENCE

Wilhelmine Von Bayreuth

ARGENORE/ Martesia

Georges Bizet

CARMEN/Carmen
CARMEN/Mercedes

Benjamin Britten

A MIDSUMMERNIGHT'S DREAM/Hermia

Gaetano Donizetti

L'ELISIR D'AMORE/Giannetta

Charles Gounod

ROMEO ET JULIETTE/Stefano

Georg Friedrich Händel

GIULIO CESARE/Sesto

Claudio Monteverdi

L'ORFEO/Orfeo

Wolfgang Amadeus Mozart

COSI FAN TUTTE/Dorabella
DON GIOVANNI/Donna Elvira
LE NOZZE DI FIGARO/Cherubino

Francis Poulenc

LES DIALOGUES DES CARMELITES/ Mere Marie

Giacomo Puccini

MADAMA BUTTERFLY/Suzuki

Gioacchino Rossini

IL BARBIERE DI SIVIGLIA/Rosina
LA CENERENTOLA/Angelina

Richard Strauss

ARIADNE AUF NAXOS/ Najade

Giuseppe Verdi

LA FORZA DEL DESTINO/ Preziosilla
SAMPEL OF CONCERTS

Johann Sebastian Bach

Weihnachtsoratorium 1-3

Ludwig van Beethoven

Symphony No. 9 in D minor, Op. 125, "Choral"

Wolfgang Amadeus Mozart

C minor Mass, KV 427
Requiem KV 626

Georg Friedrich Händel

The Messiah, HVW 56

Gioacchino Rossini

Petite Messe Solenelle
Stabat Mater
Review
Opera magazine
One of Wilhelmina von Bayreuth's most suggestiv pieces is Martesia's nightmare aria - Josefine Andersson did it to the absolute highlight of the evening with the blood literary running down the wall.
Fynske Stifttidende Marlena Rønnow Hausmann
Josefine Andersson deserve a lot of praise for her Suzuki. With great variation in her acting, the dark rich color of her voice makes Suzuki come to life. Sometimes funny, but especially empathetic and vivid throughout the opera.
Johanna Paulsson, DN
Mezzo-soprano Josefine Andersson portrays Martesia with special luminosity, but she also gets some of the opera's most brilliant arias at her disposal. Not least the aria where she tells about the nightmare that heralds her brother's death.
Press Service

Representation:
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